The imagery is from a notation system Lili and I developed for this ongoing project.
As in previous installments, the music is based on a scale derived from the work of Erv Wilson.
7 / a lattice of unplanned measurements
Headphones suggested.
Music composition and performance: James Rouvelle
Video: Maya+Rouvelle
As the other works in this series (Soundcloud for audio , for additional videos click on the video of this movement above ), the music is derived from a 10 note scale (a “Dekany”) inspired by the work of Erv Wilson.
The fundamental tone is 432 Hz.
6 / a lattice of unplanned measurements
Headphones suggested.
Charles Jones (1910-1997), was a composer and violinist. He taught me composition/counterpoint/harmony/orchestration. He was a wonderful teacher, and, to me, a medievalist.
He set William Langland’s Piers Plowman to music. Piers Plowman is a late 14th-century allegorical poem in a sequence of 22 dream-visions that Langland termed ‘passus’ [‘step’ in Latin]. In these visions, the narrator, Will, meets a series of allegorical characters.
Charles had a small study in his home in Manhattan (he lived there with his family in an actual house with a white picket fence in front) that we would often visit after lessons. He had a wonderful library and collection of art and artifacts that he loved to draw connections between.
He had many students over the years and it seems a lot of us felt that Charles had an uncanny ability to maintain a deep memory of our individual works, influences and thoughts – making us each feel our own efforts were dream-visions somehow simultaneously for us as individuals yet authentically conjoined with his.
This music and imagery reminds me of time with Charles.
Music composition and performance: James Rouvelle
Video: Maya+Rouvelle
As the other works in this series (Soundcloud, for videos click on the video of this movement above ), the music is derived from a 10 note scale (a “Dekany”) inspired by the work of Erv Wilson.
The fundamental tone is 432Hz.
5 / a lattice of unplanned measurements
Headphones suggested.
details more apparent on larger screens.
Music composition and performance, Image software: James Rouvelle
Video: Lili Maya
We think of the imagery as dynamic Asterisms (a group of stars that form an observable pattern other than the official 88 constellations). Asterisms may be part of an official constellation. An interesting topic, no?
This music is derived from a 10 note scale inspired by the work of Erv Wilson. The fundamental tone is 432Hz. All audio tracks are here: https://soundcloud.com/user-951080174
4 / a lattice of unplanned measurements
Headphones suggested.
All audio tracks are here: https://soundcloud.com/user-951080174
Music composition and performance, initial image/software: James Rouvelle
Video: Lili Maya
James wrote some software that generates static images from keyboard interaction that he thought worked with the music. Lili worked with the software to generate images that she used/edited as she composed the video.
This music is derived from a 10 note scale inspired by the work of Ervin Wilson.
The fundamental tone is 432 Hz.
3 / a lattice of unplanned measurements
Headphones suggested.
Here’s part 3 of A Lattice of Unplanned Measurements.
The images are animated stereograms.
We’ve moved (are moving…) the full audio tracks to their own Soundcloud channel and will be posting excerpts to IG.
Part 3 is in two movements. The first movement has a coda section that follows the second movement.
- Mvt II, 1:27
- Mvt I coda, 3:39
As in earlier parts, the music is based on a 10 note scale from a formulation by Erv Wilson.
The fundamental tone is 432Hz.
Images: Lili Maya and James Rouvelle
Music/Performance: James Rouvelle
2 / a lattice of unplanned measurements
Headphones suggested
The music is based on a 10 note scale derived from a set of 5 natural and prime numbers through a process inspired by Ervin Wilson
The fundamental frequency is 432Hz
Part 2 is in three short movements:
Image: Lili Maya, Composition/Performance: James Rouvelle
1 / a lattice of unplanned measurements
Cutout [6×6] w/ Close Scrape for BBC/Tectonics Festival Glasgow
These videos were presented on the BBC/Tectonics website between May 8 and June 7, 2021.
From the Festival catalogue: For Tectonics 2021, Close Scrape debuts “Cutout [6×6]”, a modular piece structured as a constellation of six semi-independent movements that can be performed or listened to in any order. Well-suited to the task at hand, Close Scrape snips fragmentary excerpts of live performance and obsolete recordings, isolates them from their original connections, and – in punctuated transmissions – stitches them together with tailor-made sources of obscure origin. The piece is governed by the guiding idea that music can function as a living artifact, intermediating between channelled worlds and audience receptions.
The online incarnation of “Cutout (6×6)”, streamed from May 8 to June 7, 2021 on the BBC/Tectonics website, includes new video art commissioned for the festival by Maya + Rouvelle, a collaboration between Lili Maya and James Rouvelle that began in 2009 in New York.
Music: Close Scrape (Adam Linson, Matt Wright)
Curated by Ilan Volkov (Conductor, BBC Scottish Symphony Orchestra), and Alasdair Campbell (Creative Producer ACProjects/Alternative Currents)
A conversation about End Words
A conversation with Abraham Burickson, Artistic Director of Odyssey Works, about End Words, a Cinematic 360/Ambisonic production of Christopher Trapani’s work, performed by Ekmeles and featuring poetry by Ciara Shuttleworth, Anis Mojgani, and John Ashbery.
Participants:
Christopher Trapani, Composer
Jeffrey Gavett, Baritone and Ekmeles Artistic Director
Ciara Shuttleworth, Poet
Lili Maya + James Rouvelle, Visual Artists